Intan Paramaditha Bijdragen tot de Taal-, Land- en Volkenkunde 173 (2017) 357–375 This essay aims to discuss the state of the art of the study of Indonesian cinema with a special focus on what is being written in Indonesia. Although the number of academic publications on the subject within and outside the country has grown
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Reading Karen Strassler’s Refracted Visions is a journey to trace how “Indonesia” is imagined, questioned, and remade not through the main routes of nationalism—the official images and narratives produced by the state, whose investment in visual culture was especially lavish during the New Order period (1965–1998)—but rather through the roads taken by amateur photographers, owners
Prisma, Vol. 30, no. 2, 2011, hal 83-88. Praktik Kultural Anak Muda: Narasi 1998 dan Eksperimen Intan Paramaditha Jika ada pertanyaan tentang “apa arti menjadi anak muda,” beberapa kata kunci yang dapat disodorkan adalah “perubahan” dan “eksperimen.” Masa muda adalah masa ketika apa-apa yang kita serap terasa baru, mengetuk-ngetuk pintu yang sebelumnya tertutup, mengguncang kita.
“Cinema, Sexuality, and Censorship in Post-Soeharto Indonesia” by Intan Paramaditha in Southeast Asian Independent Cinema (Hong Kong University Press, 2012), pp. 70-87. Edited by Tilman Baumgärtel At the end of 2007, the omnibus film Perempuan Punya Cerita (Chants of Lotus, 2008), directed by four women filmmakers and produced by independent production house Kalyana Shira Film,
Inter-Asia Cultural Studies Volume 12, Issue 4, 2011 Special Issue: Runaway City/Leftover Spaces City and Desire in Indonesian Cinema Intan Paramaditha ABSTRACT This article examines the ways in which desire in/for the city is projected in contemporary Indonesian cinema in comparison with the authoritarian New Order period (1965–1998). Despite the government’s visual investment to